Evan Lindquist Engraves Engravers' is an exhibition of thirty copperplate engravings of engravers of historical importance. Each print engraved and printed by Arkansas Artist Laureate, Evan Lindquist, Emeritus Professor of Art, Arkansas State University, Jonesboro, Arkansas, USA.

LIST OF ENGRAVINGS CHRONOLOGICALLY BY ENGRAVER
1. Master ES Invents Crosshatch Shading, 2014 / Master ES (1420–1468)
2. The First Printmaker-Engraver, 2013 / The Master of the Playing Cards (active 1430s–1450s)
3. Andrea Mantegna Engraves Julius Caesar, 2016 / Andrea Mantegna (1431–1506)
4. Israhel van Meckenem Engraves Ida's Portrait, 2017 / Israhel van Meckenem (c.1445–1503)
5. Martin Schöngauer Engraves St Anthony, 2010 / Martin Schöngauer (c.1450/53–1491)
6. Albrecht Dürer Engraves His Initials, 2008 / Albrecht Dürer (1471–1528)
7. Dürer’s Ladder, 2021 / Albrecht Dürer (1471–1528)
8. Knight, Bird & Burin, 2006 / Albrecht Dürer (1471–1528)
9. Lucas Cranach the Elder Engraves Martin Luther, 2021 / Lucas Cranach the Elder (1472–1553)
10. Marcantonio Raimondi Engraves a Raphael, 2017 / Marcantonio Raimondi (c. 1480–1534)
11. Giulio Campagnola Invents Stipple Engraving, 2019 / Giulio Campagnola (c.1482–c.1515)
12. Jean Duvet Engraves an Apocalypse, 2017 / Jean Duvet (1485–c.1570)
13. Lucas van Leyden Engraves a Feather, 2011 / Lucas van Leyden (1494–1533)
14. Diana Scultori Engraves for Vasari, 2018 / Diana Scultori (1535–1612)
15. Hendrik Goltzius Engraves with Maimed Hand, 2011 / Hendrik Goltzius (1558–1617)
16. Aegidius Sadeler Engraves a Landscape, 2020 / Aegidius Sadeler (1570–1629)
17. Jacques Callot Discards His Burins, 2012 / Jacques Callot (1592–1635)
18. Claude Mellan Engraves a Self-Portrait, 2008 / Claude Mellan (1598–1688)
19. Magdalena van de Passe Engraves a Portrait, 2019 / Magdalena van de Passe (1600–1638)
20. William Hogarth Engraves a Line of Beauty, 2008 / William Hogarth (1697–1764)
21. William Blake Engraves the Inferno, 2010 / William Blake (1757–1827)
22. Jozef Hecht Explains the Burin, 2016 / Jozef Hecht (1891–1951)
23. Reginald Marsh Engraves a Horse, 2012 / Reginald Marsh (1898–1954)
24. Robert Austin Engraves a Puppet, 2015 / Robert Sargent Austin (1895–1973)
25. SW Hayter Engraves War, 2015 / Stanley William Hayter (1901–1988)
26. Armin Landeck Sharpens a Burin, 2013 / Armin Landeck (1905–1984)
27. Mauricio Lasansky Teaches Me to Engrave, 2015 / Mauricio Lasansky (1914–2012)
28. Gabor Peterdi Engraves a Still Life, 2009 / Gabor Peterdi (1915–2001)
29. Man with a Burin, 2012 / Evan Lindquist (b.1936)
30. My Thoughts, 2016 / Evan Lindquist (b. 1936)

© Evan Lindquist / Artists Rights Society (ARS), New York. All Images, All Rights Reserved.

For further information about Evan Lindquist, his copperplate engravings, along with full bio, resources, and images from other series and editions, please visit EvanLindquist.com

On Instagram: Evan Lindquist Engraves Engravers @e.lindquist.engraves.engravers Evan Lindquist @lindquist8860

#EvanLindquistEngravesEngravers #Burin #Line #Engraving #CopperplateEngraving #Portrait #Print #Intaglio #Printmaking #Arkansas #ArkansasArtistLaureate #Printmaker #EngravingEngravers #EvanLindquist

Indigenous America has long occupied a unique place in the imagination of non-Native artists. From the moment European explorers arrived in the so-called New World in the fifteenth century, (mis)representations of Native North Americans proliferated in the fine, decorative, and commercial arts. In order to personify peoples they knew little about, European artists invented a visual vocabulary to depict America, creating long-lasting stereotypes such as the "Indian princess" and the "noble savage." Artists working in the United States in the late eighteenth and early nineteenth centuries inherited these conventions and adapted them to create romanticized images of Native peoples existing apart from the modern world.

Facilitated by the advent of photography in the mid-nineteenth century, Indigenous Americans were increasingly subjected to ethnographic documentation, as their destiny as a "doomed race" was widely accepted by Euro-Americans. Nostalgia for the "vanishing Indian" also motivated artists at the turn of the twentieth century to look to Native cultures, notably in the Southwest, for authentic American subject matter. Occurring amid colonization, genocide, dispossession, and cultural destruction, these artistic encounters with Indigenous America reveal little about the realities of Native life; instead, they reflect the attitudes and anxieties of the artists and societies that produced them.

Featuring more than forty works from The Met collection, this exhibition includes drawings, prints, watercolors, photographs, and popular ephemera from the seventeenth to the early twentieth century. To add a broader perspective to this complex historical imagery, contemporary artist Wendy Red Star (Apsáalooke/Crow) was invited to author interpretative labels for the works of her choosing, included on the exhibition object pages below. Red Star draws on her cultural heritage as well as archival research to create art in a variety of media that questions, often in humorous and provocative ways, stereotypes of Native Americans.

An exhibition of California landscapes by Bay Area printmaker Karen Gallagher Iverson.

Hovering at the intersection of print and drawing these emotive landscapes play with visual perception, place, time and fictitious vantages.

Throughout history, visual artists have embraced the representational format - chief among them landscape - to illuminate the shifting contemporaneous viewpoints, philosophies, and discoveries of the time. The styles and visual perspectives of each period are examples of artists emboldening what may appear a simple depictive art form with the fresh thoughts of humanity. Gallagher Iverson approaches the California landscape in 'Impressions by Land' with a similar mission.

Pushing against the boundaries of printmaking and the act of drawing, the vast system of resists, screens and hidden reversals inherent in printmaking intersect with drawing materials and methods . A harmony between digital technologies, fabrication machinery, wax medium & traditional colored pastel is found in the creation of these visceral scenes.

On view at Manna Gallery in Oakland, California from January 5th through February 10th with an opening reception January 13th.

Printmaker and designer Félix Bracquemond produced more than eight hundred etchings during a prolific career that spanned the late 19th century, a period of dynamic technical innovations in the medium. A champion of the etching revival in France, Bracquemond created a vast and richly varied body of work that helped redefine etching as a highly original art form. This exhibition reintroduces Félix Bracquemond as an independent-minded, industrious artist through a selection of more than eighty works on paper and tableware objects, including his most imaginative and groundbreaking reinterpretations of French art and decorative arts traditions.

The first section presents his early works and illuminates his relationships with avant-garde artists, critics, and publishers. Forming a virtual aviary, the second section interprets Bracquemond’s distinctive images of birds—namely ducks and other domestic fowl—revealing his deep appreciation of nature and growing interest in Japanese visual tradition. The final section demonstrates Bracquemond’s enduring commitment to reproductive etching, even as he engaged in aesthetic experimentations that promoted a taste for Japanese art and culture in France. Displays of dinner services designed by Bracquemond punctuate the exhibition, disclosing the unexpected but vital role of his printmaking in ceramics production.

Exhibition Reviewed for Nineteenth-Century Art Worldwide by Eric Denker, Senior Lecturer
National Gallery of Art, Autumn 2015: http://www.19thc-artworldwide.org/autumn15/denker-reviews-felix-bracquemond-impressionist-innovator

The Art Gallery at Kingsborough Community College, City University of New York will exhibit a collection of Honoré Daumier's caricatures, related nineteenth-century news journals and books, lithographs, and stereocards bringing to the public more than 200 visual objects from nineteenth-century Paris. All prints and materials are from Jennifer Pride’s personal collection.

The Nineteenth-Century painter, sculptor, caricaturist and printmaker Honoré Daumier (1808-1879) was an astute commentator on Parisian life during that city's radical transformation by Georges-Eugène Haussmann (1809-1891). Beginning in 1854, this massive urban rebuilding project, now known as Haussmannization, demolished many of the small, unique streets and neighborhoods in Paris, replacing them with wide boulevards lined with unified, cream-colored architecture--features we now associate with the look and style of the French capital. The loss of old Paris, however, was for many a traumatic cultural experience. Curated by Jennifer Pride, a scholar of nineteenth-century art at Florida State University, this exhibition reveals how Daumier expressed this shared national trauma through his lithographs, many published in the satirical magazine Le Charivari.
https://fsu.academia.edu/JenniferPride

Hieronymus Cock (1518-1570) was an Antwerp painter and printmaker. Together with his wife, he was one of the first to establish a publishing house for prints. From 1548 their firm “At the Sign of the Four Winds” issued hundreds of important etchings and engravings. Prints after frescoes and paintings by Italian artists Raphael and Bronzino, the first series of classical ruins, antique sculpture, as well as designs by such Northern artists as Maarten van Heemskerck and Frans Floris were distributed all over Europe and helped to spread Renaissance ideals of beauty. It was Cock who spotted the talent of Pieter Bruegel, an artist who would eventually supply Cock with more than sixty designs for prints.

For centuries, women were excluded from printmaking in Japan. Circumstances began to change only after World War II (1939–1945), in the context of much larger social transformations. This exhibition focuses on the work of five exceptional women who were pioneers of printmaking in the postwar decades. Today, all five artists enjoy international renown. Collectively, their work displays a dazzling diversity of stylistic choices, all markedly different from that of their male counterparts. Significantly, interaction with the West played a crucial part in shaping each artist’s individual voice.

Minami Keiko (1911–2004) took up aquatint etching in Paris, where she had moved in 1954 with her husband, mezzotint artist Hamaguchi Yōzō. Her images of young girls, trees, and birds, limned with disciplined, almost obsessively detailed linework, evoke a haunting, fairytale world.

Shinoda Tōkō (born 1913) had an established career in Japan as an avant-garde calligrapher by 1940. Two momentous years in New York in the mid-1950s exposed her to the Abstract Expressionists, whose work resonated with her own artistic goals. Shinoda works in lithography, a printmaking technique that is uniquely suited to capturing the fluid movement of her brushstrokes.

Yoshida Chizuko (born 1924), an oil painter, began printmaking after meeting and marrying Yoshida Hodaka (1926–1995). The couple traveled abroad often, and Chizuko often drew inspiration for her art from what they had seen and experienced. An artist of relentless perseverance, she has experimented with several different techniques and styles over the course of her career.

Matsubara Naoko (born 1937) studied printmaking at Kyoto City University of Arts, where she learned to carve directly on woodblocks, without the intermediate step of a drawing. She still uses this technique, which imparts a forceful immediacy to her works. Matsubara has lived and worked in North America since 1961.

Oda Mayumi (born 1941) graduated from Tokyo University of Fine Arts in 1966. She came to the United States soon afterwards and has remained here ever since. Equal parts earth mother, political activist, and Zen Buddhist, Oda is the sole artist in this group to work in screenprinting—a stencil-based technique that is ideal for her playful, dynamic style.

Breaking Barriers is drawn both from Museum holdings and loans from many individuals. The Museum is grateful to Ren Brown, Joann and Ed Frankel, Matsubara Naoko, Ellen and Edwin Reingold, Peter Shinbach, and Yoshida Chizuko for generously sharing their collections with the public on this occasion.

Organized by the Portland Art Museum and curated by Maribeth Graybill, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art, with the assistance of Irwin Lavenberg, research volunteer for Japanese prints.

Exhibition dates: December 20, 2014-April 12, 2015

For seven centuries, Japan was ruled by samurai, the warrior class. Over the course of this unique national history, the samurai have exerted a powerful and enduring grip on the Japanese imagination. Their exploits, first recounted by wandering minstrels and later recorded in literature, drama, and art, are often seen as morality tales or models for behavior. There is also an insatiable desire to understand warriors as distinct individuals through biographical details that illuminate their grand, romantic lives and explain their victories or defeats. Today, the Japanese public’s enthusiasm for samurai stories is met with countless novels, TV dramas, films, and computer games, many of which have found audiences in the West. In the eighteenth and nineteenth centuries, the medium of popular culture was the woodblock print. Colorful, dramatic, and affordable, prints played a key role in shaping not only Japanese but also Western perceptions of the samurai as complex and even conflicted characters. The 26 prints in this exhibition were selected to introduce some of the most famous warriors of the twelfth through sixteenth centuries, as well as varied moods and perspectives. In these prints we find portraits of heroes and cowards, men who conquered as well as men who lost, and men who are remembered as musicians and poets as well as fighters.

Exhibition dates: September 14, 2013-January 12, 2014